Skip to main content ↑ ↓
Recent Posts
1
General Discussion / Text Allignment
Last post by fathafluff -
If I insert text at the beginning of the first staff (before the clef or signatures) with left alignment, it shows up aligned with the left edge of the staff. If I have a later bar with force system break, and add text immediately following the bar, the text aligns after the (automatically inserted) clef.  Is there an easy way to get it to align with the left edge of the staff? I can change the text alignment to center or right, and insert spaces before or after the text, but the spacing amount is very trial and error, depending on the width of the text.
I just discovered that I can insert another clef after the system breaking bar, and that seems to work, but is that the only way?
2
General Discussion / Re: Very complicated score (spartito molto complicato)
Last post by Flurmy -
Nice trick, Harald!

Sligltly off topic: years ago I saw many scores in which there were the instructions (in Italian) "from (the glyph for Segno) to (the glyph for Coda) then follows", but lately I see only, as per NWC, the glyph for Segno, the indication "To Coda", the command "D.S. al Coda" and the gliph and text "Coda".
Was it an old way that became obsolete or a "local only" (Italian) use?

e.g. Something like this:
Code: (nwc) [Select · Download]
!NoteWorthyComposerClip(2.751,Single)
|Clef|Type:Treble
|TimeSig|Signature:4/4
|Note|Dur:Whole|Pos:0
|Bar
|Flow|Style:Segno|Pos:8
|Note|Dur:Whole|Pos:-1
|Bar
|Note|Dur:Whole|Pos:-2
|Text|Text:""|Font:StaffSymbols|Pos:9.5|Justify:Right|Placement:AtNextNote
|Bar
|Note|Dur:Whole|Pos:-1
|Bar
|Note|Dur:Whole|Pos:0
|Bar|Style:SectionClose
|Text|Text:"poi segue"|Font:PageText|Pos:8.5
|Text|Text:"da "|Font:PageText|Pos:15|Wide:Y
|Text|Text:""|Font:StaffSymbols|Pos:12.5|Wide:Y
|Text|Text:" a "|Font:PageText|Pos:15|Wide:Y
|Text|Text:""|Font:StaffSymbols|Pos:15|Wide:Y
|Boundary|Style:Gap|Width:400|SystemConnections:N
|Bar|Style:SectionOpen
|Note|Dur:Whole|Pos:1
|Bar
|Note|Dur:Whole|Pos:2
|Bar|Style:SectionClose|SysBreak:Y
!NoteWorthyComposerClip-End
3
General Discussion / Re: Very complicated score (spartito molto complicato)
Last post by lawrroc -
Thank you so much, my friend Harald! Your message catches me while I've been (super)busy for several hours transcribing this "very complicated score." Yours, which I'll study carefully, shows the hand of a professional! I'm not even familiar with some of the solutions you proposed. In the measures with the eighth note in parentheses, which increases the tempo by 1/8, I had initially considered changing the tempo for that measure to 7/8, but then the "rhythm" of the singing (which I've heard many times on YouTube from different choirs) was altered in an unfeasible way. I'll study your solution for this too. Now I want to finish my work. I've decided to transcribe the ENTIRE score from beginning to end as if there were no refrains. In practice, I've gone from 20 measures to 48! It's too complicated and difficult for me to work on the refrains. Then I'll work on the graphic aspect. Thanks.
4
General Discussion / Re: Very complicated score (spartito molto complicato)
Last post by hmmueller -
Here is my raw version. I actually don't see that this is really complicated - just tell NWC which parts to play on which repetition, and that's it - unless I have overlooked something. To check the appearance and the playing, open it in NWC Viewer - as far as I can see, it does what is described in Lorenzo's scan.

One special trick is in m.10, to play the parenthesized eighth only in the fourth verse: The preceding quarter is below an eighth rest, and in verses 1 to 3, this is followed by another eighth rest - thus, in these verses, the eighth note is not playing. In verse 4, however, the second eighth rest is bypassed, and instead the second eighth note is played/highlighted. I put in a tempo=30 so that when playing the score in NWC Viewer, one can follow the sequence of these events. This "machinery" would have to be copied to all parenthesized notes.

Of course, lots of formatting (layering of staves, direction of stems and ties, some beams, lots of additional text and its formatting) has to be done. As part of the lyrics is above the staves, it might even be necessary to add additional staves like "Tenor 1 UpperLyrics" and "Tenor 2 UpperLyrics" - but that's just menial work.

In more complicated lyrics cases, where part of the lyrics is reused in multiple verses, it might be helpful to have completely separate lyrics parts (with invisible rests with "Lyrics Always") where one can put the lyrics of one verse on different heights at different places of the piece; maybe one would call these staves something like VERSE1_HEIGHT1, VERSE1_HEIGHT2, VERSE2_HEIGHT2 etc.

Fun exercise, Lorenzo  :). @All, let me know what I overlooked  8) !

Regards - Harald
8
General Discussion / Re: Very complicated score (spartito molto complicato)
Last post by lawrroc -
No, no, it's an exercise to test my ability to "stress" the program  :D (I never print the score). I have plenty of time. Sometimes I persevere, and with your help, I achieve something, even if not everything I set out to do. Other times, I quit the project prematurely, with no results. Bye Flurmy.
10
General Discussion / Re: Very complicated score (spartito molto complicato)
Last post by hmmueller -
Hm. When I studied computer science many decades ago, we learned about the "Turing machine"; and had to do exercises to compute sums of numbers, or counting 1s in strings etc. The challenge was to use a very (very!) limited set of commands to achieve somewhat simple effects - necessary for theoretical reasons, but quite strange and awkward.

Using NoteWorthy's flow control for somewhat complex verse structures notated for humans looks like a similar head-scratcher - albeit without the theoretical benefits. Nice like an afternoon's crossword puzzle, but ... why? But I wouldn't want to discourage anyone from trying  ;D

H.M.